141 Carl Rotky Austrian 1891-1977
Cottage In Styria [Austria], c1920s. Colour woodcut, titled and
signed in pencil in lower margin, 14.8 x 17.5cm. Slight creases
overall, old tape to edges of margins.
is a mountainous, forested state in southern Austria, known for
its wine, spas and castles.
142 Olga Rozanova Russian 1886-1918
[Abstract Composition], c1915. Watercolour, signed verso, 25.2
x 16.8cm (paper). Slight cockling.
Rozanova was a Russian Constructivist painter, who experimented
with Cubism and Futurism before settling on her particular abstract
style. She was among the first in Russia to advocate abstract
art in an essay published in 1913. She illustrated several books
of Futurist poetry, including those of her husband Alexei Kruchenykh.
Rozanova also composed her own experimental sound poetry, and
created embroidery and fabric designs for Malevich's unpublished
journal Supremus. Ref: Grove Dictionary of Art; Oxford Dictionary
143 Richard Ruepp Austrian 1885-1958
Hugo Glattauer, 1929. Bronze relief, mounted on wooden plaque,
subject, artist and date cast into the bronze, captioned in a
brass plaque verso, 24.5 x 24.3 (bronze), 38 x 33.5cm (plaque).
Minor scratch to centre of bronze, chips, cracks and missing
portions to veneer of wooden plaque.
reads "Unserem hochverehrten chef die beamtenschaft (Our
revered community leader)." This portrait is most likely
of the Hugo Glattauer (1879-1949), an Austrian Jewish immigrant,
who resided in Bellevue Hill, NSW. Ref: SMH, 29 Oct 1949; Rookwood
Cemetery; Sculptors Finder, and Farbholzschnitt websites.
144 Raphael Sabatini American,1898-1985
7 Shots From The Spot-light, 1927. Folio of seven original lithographs,
with contents page and frontispiece in linocut, title and date
on contents page, each lithograph signed in pencil below image,
25.6 x 18cm (each); 40.2 x 32.7cm (folio). Tears and missing
portions to contents page, old glue stains to upper edge of four
lithographs with minor cockling, slight discolouration to old
mats and folio cover.
(1) Strutter; (2) Trapeze; (3) Black-Bottom; (4) Get thee from
behind me Satan; (5) Pozies; (6) Shuffling; and (7) Cardboard
tragedy. Text on frontispiece includes "Limited to 53 sets."
Held in Whitney Museum of American Art.
The set $2,450
145 Eileen Soper British 1905-1990
Marbles, c1923. Etching, signed in pencil in lower margin, 12.5
x 17.6cm. Minor foxing to image upper left and margins, old mount
Wootton #59. An etcher and illustrator of children's and wildlife
books, Eileen Soper is best known for her collaboration with
writer Enid Blyton. Ref: Wiki.
146 Eileen Soper British 1905-1990
The Garden Gate, c1925. Etching, signed in pencil in lower margin,
12.7 x 17.5cm. Repaired tears to image lower centre and margin,
minor foxing, old mount burn. Laid down on acid-free tissue.
Wootton #108. Held in de Young Museum, San Francisco. The daughter
of illustrator George Soper, Eileen was only fifteen when her
work was first accepted by the Royal Academy. Eventually Eileen
and her sister became recluses in the family home in Hertfordshire.
Even provisions were ordered by telephone and delivered to the
garden gate so that they did not have to meet shop-keepers. Ref:
147 Gerald Spencer-Pryse British 1881/2-1956
[Children Dancing], c1920s. Tinted lithograph, 44.5 x 36.2cm.
Minor creases, old mount burn.
was a key advocate in lithography being recognised as an original
art form during the first part of the twentieth-century. As a
young man he could not afford to pursue a training in oil painting
and took up lithography instead. Ref: Campbell Fine Art, UK.
148 Ernst Steidl Czech 1891-1966
Waldandacht, [Karlsbad, Karlovy Vary, CZ], c1920s. Etching, signed
in plate lower right, annotated "original radierung (etching)",
titled and signed in pencil in lower margin, 33.4 x 27.5cm. Minor
tears, stains and creases to margins.
in Karlovy Vary, a mineral water spa town in the Czech Republic.
149 Alexandre Théophile
Steinlen French 1859-1923
[WWI Soldiers And Peasants], c1914-1918. Group of five lithographs,
each signed "St." and two captioned in image, each
editioned in pencil and signed in coloured pencil below image,
sizes range from 31.7 x 24cm to 26 x 37.3cm. Slight creases and
minor discolouration overall.
include "Ou est la gare de l'Est? Gare du N [east and north
railway stations]." A major artist of the French Art Nouveau
era, Swiss-born Steinlen was mainly self-taught. In Paris he
established himself as a leading illustrator of popular journals.
He also contributed a large amount of drawings and lithographs
to radical press publications, often using pseudonyms such as
'Treelan' and 'Pierre' to avoid political repercussions. In the
1890's Steinlen's use of line and design led to some of the most
famous posters of the Art Nouveau movement, including Tournee
du Chat Noir (1896). The majority of his art continued to explore
the hardships of the poor and humble. Known as "the Millet
of the Streets", Steinlen had a vast influence. Among other
artists both Toulouse-Lautrec and Picasso paid direct homage
to his art. Ref: University of Illinois Library, USA.
The group $2,650
150 Alexandre Théophile
Steinlen French 1859-1923
[WWI Fund Raising Concerts], 1916. Pair of programmes with lithographic
covers, each signed and one dated "1916" in image lower
left or right, each programme with printer's line on back page,
23.7 x 33.5cm, 33.5 x 24.3cm.
line reads "Imp. Eug. Verneau, H. Chachoin succ. 108 R.
Folie Mericourt, Paris. XI Arr." Text mentions patrons including
composer Gabriel Fauré. One concert raised funds for injured
WWI veterans returning to farming work, and the other raised
relief funds for the alumni of the French National Conservatorium.
The pair $1,150
151 Alexandre Théophile
Steinlen French 1859-1923
Sur La Terre Ennemie Les Prisonniers Russes Meurent De Faim (On
Enemy Soil Russian Prisoners Are Dying Of Hunger), 1917. Lithograph, signed
and dated in image centre right, 30.4 x 22cm.
Held in Imperial War Museum, UK.
152 Graham Sutherland British 1903-1980
Bird About To Take Flight, 1968. Colour lithograph, dated "1.III.68"
in image upper left, editioned 54/70 and signed in pencil on
image lower left to right, 64.7 x 49.2cm. Framed.
by Marlborough Fine Art Ltd, London. Printed by Mourlot, Paris.
Ref: Tassi #95.
153 Graham Sutherland British 1903-1980
Balancing Form, 1972. Colour lithograph, editioned 46/90 and
signed in lower margin, 42.8 x 35.8cm. Minor stains to image
early printmaking was greatly influenced by the work of Romantic
artist Samuel Palmer, as well as William Blake. His early representational
style of densely worked etchings eventually evolved into Surrealism.
While serving as an official war artist during WWII his work
provided a visual record of desolation. His painting "Crucifixion"
(1946) is considered to be one of the most important religious
paintings of the 20th century. In his later works he used anthropomorphic
insect, animal and plant forms. Ref: Tassi #130.
154 Yves Tanguy French 1900-1955
[Untitled], 1947. Lithograph, dated and signed lower left, 20
x 15cm. Minor discolouration and stains to edges of margins.
From an edition of 999, published in Le Surréalisme en
1947, the catalogue for the Exposition
du Surréalisme, organised by André Breton and Marcel
Duchamp, published by Maeght Éditeur. Ref: NGA.
155 Dorothea Tanning American 1910-2012
[Untitled], 1947. Etching, initialled in plate lower right, 15.1
x 10.1cm. Minor discolouration to edges of margins.
an edition of 999, published in Le Surréalisme en 1947,
the catalogue for the Exposition Internationale du Surréalisme,
organised by André Breton and Marcel Duchamp, published
by Maeght Éditeur. Ref: NGA.
156 Joe Tilson British b.1928
[Dionysos], 1982. Etching with aquatint and carborundum, made
up with nine plates, editioned 19/25, signed and dated in pencil
in lower margin, 23 x 23.2cm (overall). Minor foxing to margins,
old mount burn.
image entitled The Arrival of Dionysos held in Tate Gallery.
157 Sidney Tushingham British 1884-1968
Venetian Brothers, c1920s. Drypoint, monogrammed in plate upper
left, signed in pencil in lower margin, titled and annotated
"drypoint" in pencil on slip attached to mount verso,
28 x 20.4cm.
Konody, Etchings & Drypoints by S. Tushingham, #52.
158 Sidney Tushingham British 1884-1968
Holiday Time, c1920s. Etching, monogrammed in plate upper right,
signed in pencil in lower margin, titled and annotated "etching"
in pencil on slip attached to mount verso, 25.8 x 20.5cm.
Konody, Etchings & Drypoints by S. Tushingham, #30. Held
in Hunterian Museum, Glasgow.
159 Sidney Tushingham British 1884-1968
The Sheepmarket, Bridgwater [UK], c1920s. Drypoint, monogrammed
in plate upper left, signed in pencil in lower margin, titled
and annotated "drypoint" in pencil on slip attached
to mount verso,
25.3 x 21.5cm.
Konody, Etchings & Drypoints by S. Tushingham, #14.
160 Sidney Tushingham British 1884-1968
Dunster [UK], c1920s. Etching and drypoint, monogrammed in plate
lower left, signed in pencil in lower margin, titled and annotated
"etching & drypoint" in pencil on slip attached
to mount verso, 22.7 x 35.1cm.
Konody, Etchings & Drypoints by S. Tushingham, #10. Dunster
is a village within the English county of Somerset. Image shows
the Yarn Market built by George Luttrell (d.1629), which became
a centre for wool and cloth production and trade. Dunster Castle
appears in the background. Ref: Wiki.